To a lot of you players this will be like watching a caveman discover
how to use a stick as a tool..lol...but anyways..

Today I was playing around just noodling..

I was playing a lil riff....A#5 to C5

a little while later i decided to play C5 to C7(#9)

To my surprise..it amost sounded like i went from a C5 to a temporary OD.

So then i decided to go back to A#5 to C5 and occasionally
substitute C7(#9) for C5

Can any of you guys explain how chord7(#9) relates to chord5 and why they work?

Also..Why do all 5's seem to work better in a linear chromatic riff than 7/9's
(If thats just me...its ok..let me know how u think they sound)

is ?5 just a fraction of ?7(#9)..or is just the same root that makes it work?
I bet Charlie Brown's teacher's name was Mrs.Hammett
Last edited by Washburnd Fretz at Jul 4, 2008,
First off.. I don't know what you mean by "temporary OD".. but I think I can explain how _5s and _7(#9)s work together.

A _5 "chord" is just a power chord, which consists of the 1 and 5 of a certain key. (E B, or C G, etc.) The _7(#9) chord includes the 1 and 5 (usually), in addition to other degrees (the 3, b7, and #9). I don't really know what you're asking about how they work or why you're bringing fractions into this.. but I hope that helped.
Nor less I deem that there are Powers
Which of themselves our minds impress;
That we can feed this mind of ours
In a wise passiveness.
--Wordsworth

last.fm
Quote by Thursdae
The _7(#9) chord includes the 1 and 5 (usually)

That right there explains alot. I think thats it.

I was playin with distortion and when the C7#9 comes after C5 it sounds kinda like somebody turned on the Overdrive. Im gonna use it for some gradient tones...thanx
I bet Charlie Brown's teacher's name was Mrs.Hammett
Quote by bangoodcharlote
The standard, Hendrix voicing does not contain the fifth.

True...

The difference between 5 cord and 7(#9) cord is that the second one has extra tones added to it, just like Thursdae said...
Now, the thing is that over 5 cords you can play almost anything, but adding the extra notes narrows your note selection, but adds color to the final product...
Hendrix liked this chord because he said it was the essence of blues in a single chord (or something to that effect). The #9 is the minor third an octave higher. Combined with the major 3rd and the 7th, it pretty much is.
Quote by xtapol
Hendrix liked this chord because he said it was the essence of blues in a single chord (or something to that effect). The #9 is the minor third an octave higher. Combined with the major 3rd and the 7th, it pretty much is.

Nicely said... Blues actually is a dorian/mixolydian combination... So Jimi was 100% correct...
Quote by Rax13
Nicely said... Blues actually is a dorian/mixolydian combination... So Jimi was 100% correct...

I never thought of blues as dorian/mixolydian. At some point in 12-bar blues, almost every tone can makes sense in a harmonic context.
Quote by werty22
At some point in 12-bar blues, almost every tone can makes sense in a harmonic context.
I made a post about how each note fits over each chord a few months ago.

However, thinking of the blues as a hybrid of the dorian and mixolydian scales is fairly accurate. That hybrid scale would contain the most common notes used in a blues song.
Quote by werty22
I never thought of blues as dorian/mixolydian. At some point in 12-bar blues, almost every tone can makes sense in a harmonic context.

Using "passing tones" is one thing... When I said dorian/mixolydian it referred to the structure of the blues...